Taking Pictures of your Finished Products.
Always photograph your work indoors to ensure complete control of the lighting.
You'll need the following equipment to do your own photography:
A 35mm single lens reflex (SLR) camera with a lens. The most common lens size is about 50mm, depending on the brand. To photograph small pieces, you must be able to get the camera close enough to fill the entire frame with the piece in sharp focus. A macro lens or a close-up attachment gives you this capability.
A cable release.
A sturdy tripod.
Floodlight reflectors and stands.
A Kodak Gray Card.
Neutral sweeps or background.
A diffusion screen or photographic umbrella for each floodlight to control reflections if the work you're photographing is glossy.
Owning all of your equipment requires a substantial investment. If you photograph your work consistently, the investment will be worthwhile in the long run. A friend who is knowledgeable about camera equipment may help you check out used equipment through either a reputable camera store or photography magazines (Popular Photography, Modern Photography, for example). Secondhand equipment is much less expensive than new. If you're merely experimenting with photography, investigate renting or borrowing cameras and accessories.
The film you use depends on the type of sample you want. For color slides, use Kodak Ektachrome 500 Prof with an ISO of 50; for color prints, use Kodacolor VR-G 100 with an ISO of 100; and for black-and-white prints, choose Plus-X Pan with an ISO of 125.
Buy two 3200-degree Kelvin bulbs for your floodlights; if you're using Kodacolor VR-G 100, you also need an 80A color compensating filter with this light source. Check with the photography store personnel for other options and best combination of film, filters, and floodlights for your specific needs.
Hang your neutral background against a blank wall. Attach the piece you're photographing to the back-
Chicago artist Dave Krainik uses a tour-color 8Wx 10%” flyer to promote his pen-and-ink with colored pencil illustrations and caricatures. A realistically rendered corkboard background supports samples of his work, Printed on lightweight coated white stock, the piece is ideal for inclusion in a packet mailed to prospects, or left behind after an in-person review. The mini-poster quality of Krainik's flyer lends itself to hanging in an art buyer's office.
Ground with a low-tack adhesive (available in graphic-art supply stores). Secure your camera to a tripod and attach the cable release so that you can trip the shutter without shaking the camera. Check the camera for height and alignment parallel to the work. Move the camera until the piece fills the frame in sharp focus.
Arrange the floodlights, one on each side, at 45 degree angles to the piece until flat, even illumination is achieved. One way to check for even illumination is to hold a piece of white paper against the piece being photographed. A pencil held in front of the paper will cast shadows of equal density if your lighting is even. Uneven illumination causes one side of the piece to be darker than the other; adjust the lights to avoid this problem.
Use the Kodak Gray Card to determine the correct exposure; taking a light-meter reading directly from the artwork can result in an inaccurate exposure. Place the card in front of the piece to be photographed. Set the f/stop to f/8 and determine the proper shutter speed, 1/15, 1/30, 1/60 of a second, for example. Be sure you have the correct ISO set on your camera for the type of film you are using. Set this shutter speed on your camera. Recheck your focus and alignment, and take the picture using your cable release.
For insurance, repeat the process at the same shutter speed, but “bracket” your exposures. This means taking one picture one f/stop above and one f/stop below your original setting. In this case, you would use f/11 and f/5.6 for the next two exposures. Record your shots in a notebook. Repeat this process for each piece. When your slides or prints are returned, they'll be in the order you shot them. You'll be able to refer to your notebook and learn which setting provides the best reproduction. anaheimsigns.com
Metal is an incredibly versatile product for sign fabrication. It is very long lasting and produced in a large variety of methods.
â�¢ Steel: Steel is an extremely satisfying material for signs that do not require internal illumination, regardless of the extremely real issues of rusting. However, with appropriate care in specifying undercoats and paints these issues can be gotten over. Among the great benefits of steel is that any small metal working store can fabricate signs with it, it bonds easily (unlike aluminum), and it is reasonably inexpensive. Lettering applied by silk-screen Â¬ ing or by the application of eliminated vinyl letters.
â�¢ Galvanized metal: Galvanizing is the process of using a zinc layer to a steel sheet or core. There are generally two kinds of galvanizing: hot-dip and electro plating. Galvanizing will have a life of about 7 to 14 years, up until first rusting. Galvanized steel can be created with proper prep work.
â�¢ Aluminum: Due to the fact that of its non-rusting characteristics, aluminum is utilized extensively in the fabrication of lighted signs. Sheet and plates are specified in the same method as steel. Aluminum will be anodized, repainted, or dressed in adhesive films. Pre-painted sheets with the very same qualities and in the same densities as steel, are also readily available.
â�¢ Bronze/ Brass: Bronze and brass are primarily alloys of copper and zinc, plus traces of other metals, in differing proportions. They are cast from ingots, sawn from sheet material or extruded. Smaller sized sign fabricators are normally limited in the size of areas that can be poured.
Their bright finishes can be pre-oxidized by chemical response or can be delegated oxidize naturally in the weather. If oxidization is not preferable, manganese can be contributed to the alloy and the finish can be maintained through such layers as lacquers or liquid plastics.
Red brass is an alloy of 84-86 percent copper and 14 percent zinc.
Yellow brass is an alloy of 70 percent copper and 30 percent zinc. Brass accepts chrome plating much better than bronze, and is therefore preferred for that purpose.
Aluminum is specifically appropriate for lighted or electric signs, and is utilized most extensively. Aluminum confronts with cutout letters, is one strategy.
The letters eliminated of the aluminum face, the cut edges painted or anodized to match the face, and the message supported by a diffusing sheet of acrylic plastic. The negative letter areas, such as the within an “o” or “d,” are either glued onto the acrylic sheet in temperate climates or evaluated in serious climates to stay clear of growth problems.
They can likewise be cut-out from acrylic. Then painted and connected to the aluminum background. They can likewise be fused to the acrylic backup sheet.